Music composition system and method

ABSTRACT

A system, program code, and method for music composition, comprising: displaying a composition object according to a first value, wherein the first value includes a musical event; displaying a first and second indicator, wherein the first and second indicator describes the first value; selecting the composition object; graphically altering the first indicator; changing the first value to a second value; and graphically altering the second indicator. The first indicator comprises the position of the composition object relative to a displayed virtual instrument. The second indicator is not keyed to shapes, rather comprises a color. The method and system further incorporates a graphical user interface including a virtual music instrument; the virtual music instrument includes a plurality of virtual keys, each key corresponding to a key on a performance module.

CROSS-REFERENCE TO RELATED APPLICATIONS

This invention claims priority, under 35 U.S.C. § 120, to the U.S.Provisional Patent Application No. 60/764,235 filed on Jan. 31, 2006 andProvisional Patent Application No. 60/758,885 filed on Jan. 13, 2006,which are incorporated by reference herein. This application is aContinuation Application of, under 35 U.S.C. § 121, and claims priorityto, under 35 U.S.C. § 121, U.S. Non-Provisional Application No.:11/669,103, entitled Music Composition System and Method, by Hal C.Salter, filed on Jan. 30, 2007.

BACKGROUND OF THE INVENTION

1. Field of the Invention

The present invention relates to methods and systems of music performingand composition, specifically to methods and systems for playing,creating, composing, displaying, and editing music data.

2. Description of the Related Art

Music composition provides an opportunity for creative expression.People have taken some advantage of this opportunity from the beginningof recorded time. Through music composition we express our excitement,sorrow, joy, devotion, patriotism, love, delight, etc. Many of ourfavorite songs are a culmination of significant historical events andthereby represent an expression of history. Accordingly, musicalcomposition has been and continues to be an important human endeavor.

While bare-bones musical composition is available to anybody with amemory and a rhythm making device, expression is easier with tools andis more easily understood with a language. Accordingly, various musicalnotations have been developed over time to help us record andcommunicate our expressions. Further, many tools have been developed tofurther automate or otherwise facilitate musical composition.

In particular, with the advent of the computer, musical notationsoftware was developed to assist in writing music. These packages havegenerally included some assistance in selecting note pitch and timingfor a plurality of notes and associating them together as a song.Electronics and computer-related technologies such as MIDI (MusicalInstrument Digital Interface) have been increasingly applied to musicalinstrument over the years; thus greatly enhancing the ability to create,edit, and play musical compositions.

While such technology has greatly enhanced the ability to create, play,and store music compositions, many of the current systems and methodsutilizing these technologies are complex, expensive, and may require auser to have substantial musical experience and training. Additionally,while some systems and methods are adept and proficient in one area ofmusic composition, those same systems and methods may be inadequate inother areas. For example, one system may excel in playing and recordingmusic compositions, while being inadequate and inept in areas ofcreating and editing music compositions, and vice versa. Therefore,people have continually worked to produce different and/or bettersystems and methods of enhancing musical composition. Examples includebut are not limited to the references described below, which referencesare incorporated by reference herein:

U.S. Pat. No. 6,417,438, issued to Haruyama et al., discloses a generaltransposition setting device for setting a transposition for an entiremusical instrument, there is also provided an automatic-performancetransposition setting device for optionally setting a transpositionvalue for automatic performance. Automatic performance data istransposed in accordance with the transposition value set by theautomatic-performance transposition setting device and a visualperformance guide display based on the transposed automatic performancedata is provided via a key display as an automatic performance processis advanced on a desired music piece. Human player depresses keys inaccordance with the visual performance guide display so that tonescorresponding to the depressed keys are generated. The transposition setvia the automatic-performance transposition setting device does not acton the tones manually performed by the player's key depressionoperation, and only the transposition set via the general transpositionsetting device becomes effective on such manually-performed tones.

U.S. Pat. No. 6,798,427, issued to Suzuki et al., discloses a score of agiven music piece is visually shown on a display. When a particularstyle of rendition is to be imparted to a desired note on the musicalscore, a user selects a desired one of style-of-rendition icons anddesignates a desired note location on the musical score as a pastinglocation of the selected style-of-rendition icon. Thus, the selectedstyle-of-rendition icon is shown on the display in correspondingrelation to the designated pasting location. The style-of-renditionicons are appropriately associated with sets of style-of-renditionparameters, so that performance data, i.e., tonal characteristics of thenote, corresponding to the pasted location of the style-of-renditionicon is controlled, in accordance with the style-of-rendition parameterscorresponding to the pasted style-of-rendition icon on the musicalscore, to thereby achieve a performance in the style of renditioncorresponding to the pasted icon. On the display screen, at leastone-row of style-of-rendition display areas are set in parallel relationto a musical score display area, and the pasted style-of-rendition iconis shown any one of the style-of-rendition display areas. Further, onthe display screen, the style-of-rendition icon pasted to the desirednote location is designated for editing of correspondingstyle-of-rendition information.

U.S. Pat. No. 6,977,335, issued to Georges et al, discloses a method forelectronically generating a song wherein at least one parameter valuerepresenting a range of note pitch values associated with a musicalinstrument is accessed and program instructions are executed. One ormore music composition algorithms are applied to musical data togenerate a musical note data unit associated with the musicalinstrument. A musical note data unit is compared to the parameter valueto determine whether the musical note data unit is within the range ofnote pitch values. In the event that the musical data unit is not withinthe range of note pitch values, the musical data unit is modified to bewithin the range of note pitch values. In the step of receiving userinput associated with the musical instrument, the range of note pitchvalues may be modified in accordance with user input. In accordance withthe claimed invention, methods for creating, modifying, interacting withand playing musical compositions may be provided.

U.S. Patent Application Publication No.: 2004/0177745, by Kayama,Hiraku, discloses a plurality of types of additional attribute dataincluded in note data, a selection section selects one or more of theplurality of types of additional attribute data. For a plurality of thenote data, a display section displays pictorial figures or the likerepresentative of the contents of the additional attribute data of thetypes selected by the selection section, in proximity to pictorialfigures or the like representative of pitches and sounding periods ofthe note data. The display section also displays pictorial figures orthe like indicative of the contents of the additional attribute data, atpositions and in sizes corresponding to periods or timing when musicalexpressions or the like indicated by the additional attribute data areto be applied.

U.S. Patent Application Publication No.: 2004/0094017, by Suzuki et al,discloses a performance data editing system is actualized by a computersystem (or electronic musical instrument) which is equipped with adisplay and a mouse. The system initially provides a score windowcontaining various types of execution icon layers onto which executionicons (representing musical symbols such as bend-up/down, grace-up/down,dynamics, glissando, tremolo) are attached and arranged in conformitywith a progression of a musical tune on a screen of the display. Each ofthe layers is independently controlled in response to various commandssuch as display-on, small-scale display, display-off and verticalrearrangement. The system allows a user (or music editor) to selectdesired execution icons from an icon select palette that provides listsof execution icons which are registered in advance. In addition, thesystem also allows the user to modify parameters of a specific iconwhich is selected from among the execution icons attached onto the scorewindow. That is, the user opens an icon modify window to changeparameters of the specific icon with the mouse. Further, the systemprovides the user with a simple operation for deletion ofexecution-related data from performance data. That is, when the userperforms drag-and-drop operations on a certain execution icon to move itoutside of a prescribed display area (e.g., layer window) of the scorewindow, the system automatically deletes the correspondingexecution-related data from the performance data.

The inventions heretofore known suffer from a number of disadvantageswhich include: difficulty of use, especially for younger users; a highlearning curve; failure to provide an intuitive interface; includingobstacles that limit creative expression; and failing to providesufficient guidance and/or skill enhancing effects.

What is needed is a method and/or system that solves one or more of theproblems described herein and/or one or more problems that may come tothe attention of one skilled in the art upon becoming familiar with thisspecification.

SUMMARY OF THE INVENTION

The present invention has been developed in response to the presentstate of the art, and in particular, in response to the problems andneeds in the art that have not yet been fully solved by currentlyavailable composition methods and systems. Accordingly, the presentinvention has been developed to provide a composition method and systemwhich enables users of all musical skill levels a forum to expresscreativity in a skillful way. In addition to providing simple, fun, andcreative ways to create, edit, and play music compositions; the presentinvention also teaches and assists users in music composition.

In one embodiment, there is a method and/or a computer readable storagemedium comprising computer readable program code configured to executeon a processor for music composition. The program code may be configuredto and/or execute a method for displaying a composition object accordingto a first music value, wherein the first value includes a musicalevent; displaying a first indicator wherein the first indicatordescribes the first value; displaying a second indicator, wherein thesecond indicator describes the first value; selecting the compositionobject; graphically altering the first indicator; changing the firstvalue to a second value; and/or graphically altering the secondindicator.

In another embodiment, there is a system for music composition. Thesystem may comprise: a display module configured to display data; agraphical user interface module in communication with the music datacontrol module, and configured to interface with a user; a music datacontrol module in communication with the display module and with thegraphical user interface module, and configured to control music data.The music data control module may comprises instructions for: displayinga composition object through the display module, wherein the compositionobject displays a first value in a first mode and a second value in asecond mode; displaying a first indicator in association with thecomposition object, in communication with the graphical user interfacemodule, and wherein a transition of the composition object between thefirst mode and the second mode is actuated by graphically altering thefirst indicator through the graphical user interface module; and/ordisplaying a second indicator in association with the compositionobject, wherein a graphical change in the second indicator occurs inassociation with the transition of the composition object between thefirst mode and the second mode. The system may additionally include amusic data source module in communication with the music data controlmodule and providing the first value.

Reference throughout this specification to features, advantages, orsimilar language does not imply that all of the features and advantagesthat may be realized with the present invention should be or are in anysingle embodiment of the invention. Rather, language referring to thefeatures and advantages is understood to mean that a specific feature,advantage, or characteristic described in connection with an embodimentis included in at least one embodiment of the present invention. Thus,discussion of the features and advantages, and similar language,throughout this specification may, but do not necessarily, refer to thesame embodiment.

Furthermore, the described features, advantages, and characteristics ofthe invention may be combined in any suitable manner in one or moreembodiments. One skilled in the relevant art will recognize that theinvention can be practiced without one or more of the specific featuresor advantages of a particular embodiment. In other instances, additionalfeatures and advantages may be recognized in certain embodiments thatmay not be present in all embodiments of the invention.

These features and advantages of the present invention will become morefully apparent from the following description and appended claims, ormay be learned by the practice of the invention as set forthhereinafter.

BRIEF DESCRIPTION OF THE DRAWINGS

In order for the advantages of the invention to be readily understood, amore particular description of the invention briefly described abovewill be rendered by reference to specific embodiments that areillustrated in the appended drawing(s). Understanding that thesedrawing(s) depict only typical embodiments of the invention and are nottherefore to be considered to be limiting of its scope, the inventionwill be described and explained with additional specificity and detailthrough the use of the accompanying drawing(s), in which:

FIG. 1 is a relational diagram illustrating a system of musicalcomposition according to one embodiment of the invention;

FIG. 2 illustrates an exemplary graphical display according to oneembodiment of the invention;

FIG. 3 illustrates a method of musical composition according to oneembodiment of the invention;

FIG. 4 is a block diagram of a system of musical composition accordingto one embodiment of the invention;

FIG. 5 illustrates a hardware configuration of a system of musicalcomposition according to one embodiment of the invention;

FIG. 6 illustrates an exemplary graphical display, according to oneembodiment of the invention; and

FIG. 7 illustrates an exemplary graphical display, according to oneembodiment of the invention;

FIG. 8 illustrates an exemplary graphical display, according to oneembodiment of the invention; and

FIG. 9 illustrates an exemplary graphical display, according to oneembodiment of the invention.

DETAILED DESCRIPTION OF THE INVENTION

For the purposes of promoting an understanding of the principles of theinvention, reference will now be made to the exemplary embodimentsillustrated in the drawing(s), and specific language will be used todescribe the same. It will nevertheless be understood that no limitationof the scope of the invention is thereby intended. Any alterations andfurther modifications of the inventive features illustrated herein, andany additional applications of the principles of the invention asillustrated herein, which would occur to one skilled in the relevant artand having possession of this disclosure, are to be considered withinthe scope of the invention.

Reference throughout this specification to “one embodiment,” “anembodiment,” or similar language means that a particular feature,structure, or characteristic described in connection with the embodimentis included in at least one embodiment of the present invention. Thus,appearances of the phrases “one embodiment,” “an embodiment,” andsimilar language throughout this specification may, but do notnecessarily, all refer to the same embodiment, different embodiments, orcomponent parts of the same or different illustrated invention.Additionally, reference to the wording “an embodiment,” or the like, fortwo or more features, elements, etc. does not mean that the features arerelated, dissimilar, the same, etc. The use of the term “an embodiment,”or similar wording, is merely a convenient phrase to indicate optionalfeatures, which may or may not be part of the invention as claimed.

Each statement of an embodiment is to be considered independent of anyother statement of an embodiment despite any use of similar or identicallanguage characterizing each embodiment. Therefore, where one embodimentis identified as “another embodiment,” the identified embodiment isindependent of any other embodiments characterized by the language“another embodiment.” The independent embodiments are considered to beable to be combined in whole or in part one with another as the claimsand/or art may direct, either directly or indirectly, implicitly orexplicitly.

Finally, the fact that the wording “an embodiment,” or the like, doesnot appear at the beginning of every sentence in the specification, suchas is the practice of some practitioners, is merely a convenience forthe reader's clarity. However, it is the intention of this applicationto incorporate by reference the phrasing “an embodiment,” and the like,at the beginning of every sentence herein where logically possible andappropriate.

As used herein, “comprising,” “including,” “containing,” “is,” “are,”“characterized by,” and grammatical equivalents thereof are inclusive oropen-ended terms that do not exclude additional un-recited elements ormethod steps. “Comprising” is to be interpreted as including the morerestrictive terms “consisting of” and “consisting essentially of.”

MIDI defines an interface for exchanging information between electronicmusical instruments, computers, sequencers, lighting controllers,mixers, and tape recorders as discussed in MIDI ManufacturersAssociation publication entitled, MIDI 1.0 Detailed Specification(1990). MIDI is extensively used both in the recording studio and inlive performances and has had enormous impact in the areas of studiorecording and automated control, audio video production and composition.By itself and in conjunction with other media, MIDI plays an integralrole in the application of computers to multimedia applications.

In comparison to digital audio, MIDI files take up much less space andthe information is symbolic for convenient manipulation and viewing. Forexample, a typical three minute MIDI file may require 30 to 60 Kilobyteson a disk, whereas a CD quality stereo audio file requires about twohundred Kilobytes per second or 36 Megabytes for three minutes. MIDIdata may appear as musical notation, graphical piano-roll, or lists ofmessages suitable for editing and reassignment to different instruments.

General MIDI has standardized instrument assignments to greatly motivatethe multimedia title producer. MIDI input and output ports are used toroute time-stamped MIDI packets from one media component to another.MIDI ports act as mailboxes for the communication of MIDI packets acrossaddress spaces. Many interesting MIDI applications can be created byconnecting media components that contain MIDI ports. For example, a MIDIplayer and a MIDI interface can be used to play a music device, like anelectronic player piano or a guitar, connected to a computer. MIDIpackets are sent from the MIDI player to the MIDI interface. The MIDIinterface converts the MIDI packets to MIDI data that is sent to theplayer instrument piano or guitar for playback.

Additionally, certain MIDI files and songs are already broken up into‘tracks’ or channels which may be the equivalent of voice, or orchestralparts, or simply the treble and bass clefs. Players are able to selectwhich tracks or combination of tracks are to be included in the game,again this will affect the score as to what percentage of the total songthese tracks include. The selection of songs, then number or choice oftracks, and then tempo are the principle ways that the player candetermine the level of the game, and the focus of the repetition. Thisis further taught in U.S. Patent Application No. 2004/0137984, which isincorporated by reference herein.

Many of the functional units described in this specification have beenlabeled as modules, in order to more particularly emphasize theirimplementation independence. For example, a module may be implemented asa hardware circuit comprising custom VLSI circuits or gate arrays,off-the-shelf semiconductors such as logic chips, transistors, or otherdiscrete components. A module may also be implemented in programmablehardware devices such as field programmable gate arrays, programmablearray logic, programmable logic devices or the like.

Modules may also be implemented in software for execution by varioustypes of processors. An identified module of programmable or executablecode may, for instance, comprise one or more physical or logical blocksof computer instructions which may, for instance, be organized as anobject, procedure, or function. Nevertheless, the executables of anidentified module need not be physically located together, but maycomprise disparate instructions stored in different locations which,when joined logically together, comprise the module and achieve thestated purpose for the module.

Indeed, a module and/or a program of executable code may be a singleinstruction, or many instructions, and may even be distributed overseveral different code segments, among different programs, and acrossseveral memory devices. Similarly, operational data may be identifiedand illustrated herein within modules, and may be embodied in anysuitable form and organized within any suitable type of data structure.The operational data may be collected as a single data set, or may bedistributed over different locations including over different storagedevices, and may exist, at least partially, merely as electronic signalson a system or network.

The various system components and/or modules discussed herein mayinclude one or more of the following: a host server or other computingsystems including a processor for processing digital data; a memorycoupled to said processor for storing digital data; an input digitizercoupled to the processor for inputting digital data; an applicationprogram stored in said memory and accessible by said processor fordirecting processing of digital data by said processor; a display devicecoupled to the processor and memory for displaying information derivedfrom digital data processed by said processor; and a plurality ofdatabases. Various databases used herein may include: show data,participant data; sponsor data; financial institution data; and/or likedata useful in the operation of the present invention. As those skilledin the art will appreciate, any computers discussed herein may includean operating system (e.g., Windows NT, 95/98/2000, OS2, UNIX, Linux,Solaris, MacOS, etc.) as well as various conventional support softwareand drivers typically associated with computers. The computers may be ina home or business environment with access to a network. In an exemplaryembodiment, access is through the Internet through acommercially-available web-browser software package.

As set forth in the specification, the system and method of theinvention may facilitate the providing information to participantsthrough multiple media sources and may allow the player modules toreceive information via similar multiple media sources. The multiplemedia sources may include, for example, chat room, radio, bulletinboard, internet web pages, email, billboards, newsletters, commercialsand/or the like. The present invention may be described herein in termsof functional block components, screen shots, optional selections andvarious processing steps. It should be appreciated that such functionalblocks may be realized by any number of hardware and/or softwarecomponents configured to perform the specified functions.

For example, the present invention may employ various integrated circuitcomponents, e.g., memory elements, processing elements, logic elements,look-up tables, and the like, which may carry out a variety of functionsunder the control of one or more microprocessors or other controldevices. Similarly, the software elements of the present invention maybe implemented with any programming or scripting language such as C,C++, Java, COBOL, assembler, PERL, Visual Basic, SQL Stored Procedures,extensible markup language (XML), with the various algorithms beingimplemented with any combination of data structures, objects, processes,routines or other programming elements.

Further, it should be noted that the present invention may employ anynumber of conventional techniques for data transmission, signaling, dataprocessing, network control, and the like. Still further, the inventionmay be used to detect or prevent security issues with a client-sidescripting language, such as JavaScript, VBScript or the like. For abasic introduction of cryptography and network security, the followingmay be helpful references: (1) “Applied Cryptography: Protocols,Algorithms, And Source Code In C,” by Bruce Schneier, published by JohnWiley & Sons (second edition, 1996); (2) “Java Cryptography” by JonathanKnudson, published by O'Reilly & Associates (1998); (3) “Cryptography &Network Security: Principles & Practice” by William Stalling, publishedby Prentice Hall; all of which are hereby incorporated by reference.

Additionally, many of the functional units and/or modules herein aredescribed as being “in communication” with other functional units and/ormodules. Being “in communication” refers to any manner and/or way inwhich functional units and/or modules, such as, but not limited to,computers, laptop computers, PDAs, modules, and other types of hardwareand/or software, may be in communication with each other. Somenon-limiting examples include communicating, sending, and/or receivingdata and metadata via: a network, a wireless network, software,instructions, circuitry, phone lines, internet lines, satellite signals,electric signals, electrical and magnetic fields and/or pulses, and/orso forth.

As used herein, the term “network” may include any electroniccommunications means which incorporates both hardware and softwarecomponents of such. Communication among the parties in accordance withthe present invention may be accomplished through any suitablecommunication channels, such as, for example, a telephone network, anextranet, an intranet, Internet, point of interaction device (point ofsale device, personal digital assistant, cellular phone, kiosk, etc.),online communications, off-line communications, wireless communications,transponder communications, local area network (LAN), wide area network(WAN), networked or linked devices and/or the like. Moreover, althoughthe invention may be implemented with TCP/IP communications protocols,the invention may also be implemented using IPX, Appletalk, IP-6,NetBIOS, OSI or any number of existing or future protocols. If thenetwork is in the nature of a public network, such as the Internet, itmay be advantageous to presume the network to be insecure and open toeavesdroppers. Specific information related to the protocols, standards,and application software utilized in connection with the Internet isgenerally known to those skilled in the art and, as such, need not bedetailed herein. See, for example, DILIP NAIK, INTERNET STANDARDS ANDPROTOCOLS (1998); JAVA 2 COMPLETE, various authors, (Sybex 1999);DEBORAH RAY AND ERIC RAY, MASTERING HTML 4.0 (1997); and LOSHIN, TCP/IPCLEARLY EXPLAINED (1997), the contents of which are hereby incorporatedby reference.

Music generally includes a plurality of musical events, usually notes,arranged according to a predetermined timing and often including othercharacteristics such as pitch, attack, duration, etc. These musicalevents may be stored as data, wherein each event may be accompanied bymetadata describing one or more characteristics of the event. Further,musical events may be embodied in musical notation, such as but notlimited to standard musical notation; wherein events and theircharacteristics may be graphically displayed as notes on a page. Thenotes, the score, key notation, and other visual indicators provideinformation about these events. This relationship, and how it relates toan embodiment of the present invention, is further described in FIG. 1.

In particular, FIG. 1 is a relational diagram illustrating the system400 and method 300 of musical composition, according to one embodimentof the invention. There is shown a musical metadata category 110associated with a first indicator 120 and a second indicator 130 as wellas a music value 140. The illustrated indicators 120 and 130 overlap indescription and a particular music value 140 is at least partiallydescribed by each. This relationship provides for cumulative indicationby the indicators 120 and 130, thereby providing more readily accessibleinformation to a user regarding a particular metadata category 110.

In one embodiment, the musical metadata category 110 is a database fieldenabling description of an event. For example, the category 110 mayinclude pitch information, such as but not limited to: frequency of anevent or a note (C, C#, A flat, etc.). Other examples include, but arenot limited to: attack (staccato, etc.), duration (half notes, wholenotes, etc.), and volume. Such musical metadata provide additionalinformation in how a particular event should sound. This isdistinguished from song metadata categories, such as but not limited tokey, tempo, and other information on how a collection of events shouldsound.

In a digital setting, metadata is generally stored in data files and notreadily accessible to a user. Accordingly, indicators, usually visualindicators, are included to provide information related to storedmetadata values. The illustrated first indicator 120 and secondindicator 130 each provide at least some information associated with ametadata value 140. Further, such indicators 120 and 130 includeoverlapping description, thereby providing cumulative information aboutthe value 140.

In one non-limiting example, a first indicator 120 is a relativeposition of a note across a display screen representing pitch of anevent. More, a non-limiting exemplary second indicator 130 is a colordisplayed with, or on the note that correlates to a set of note pitches.Accordingly, while the first indicator 120 and the second indicator 130each provide pitch information, one may provide more or less completeinformation than the other. In the present example, the first indicator120 may provide substantially complete information about a pitch value,while the second indicator 130 provides incomplete information about apitch value, for example, by specifying a chromatic note but notspecifying a particular octave (C instead of middle C). However, bothindicators 120 and 130 include cumulative pitch information.

In particular, as shown in the figures, the illustrated compositionobjects 220, 230, and 240 include the first indicator 120, the firstindicator 130 showing a composition object 220, 230, and 240 beingpositioned vertically to indicate timing and horizontally to indicate apitch associated with the horizontal configuration of the virtualkeyboard 210. More, the illustrated composition objects 220, 230, and240 also demonstrate the second indicator 130, wherein the compositionobjects 220, 230, and 240 are colored according to a repeating colorscheme associated with pitch, wherein the color scheme repeats for eachoctave of pitch.

An example of a graphical display 200 showing an application of thepresent example is shown in FIG. 2. In particular, FIG. 2 illustrates anexemplary graphical display 200, according to one embodiment of theinvention. There is shown a virtual keyboard 210 near a bottom 212 of adisplay 200. More, there are a plurality of composition objects 220,230, and 240 displayed in relation to the virtual keyboard 210 and/oraccording to a first music/metadata value 140. The composition objects220, 230, and 240 represent musical events, music, and/or metadatavalues 140 and may be represented by and/or embodied by a firstindicator 120 and a second indicator 130. In one non-limiting example,the first and second indicators 120, 130 are represented by the positionand color of the composition object 220, 230, and 240, respectively. Inparticular, the illustrated composition objects 220, 230, and 240include the first indicator 120, the first indicator 120 showing acomposition object 220, 230, and 240 being positioned vertically toindicate timing and horizontally to indicate a pitch associated with thehorizontal configuration of the virtual keyboard 210. More, theillustrated composition objects 220, 230, and 240 also demonstrate thesecond indicator 130, wherein the composition objects 220, 230, and 240are colored according to a repeating color scheme associated with pitch,wherein the color scheme repeats for each octave of pitch.

As shown in FIG. 3, there is a computer readable storage mediumcomprising computer readable program code configured to execute on aprocessor for music composition, the program code configured to and/orexecute a method 300 for receiving a first music/metadata value 310;displaying a composition object 220, 230, and 240 according to a firstmusic/value 140, displaying a first indicator 320, wherein the firstindicator 120 describes the first music/metadata value 140; displaying asecond indicator 330, wherein the second indicator 130 describes thefirst music/metadata value 140; selecting the composition object 220,230, and 240; graphically altering the first indicator 340; changingand/or altering the first music/metadata value 140 to a secondmusic/metadata value 350; and graphically altering the second indicator360. The first music/metadata values 140 may include data and/or valuesassociated with any type and/or form of music data contemplated in theart, or as described herein. Some non-limiting examples ofmusic/metadata values 140 may include: pitch; tone; octave; note lengthand/or duration; attack, such as but not limited staccato; and/or soforth. Additionally, the method may include receiving a one or more,indeed a plurality of music/metadata values 140.

Additionally, as shown in the figures, the program code may beconfigured to execute a method 300 for displaying a composition object220, 230, and 240 according to and/or representative of the firstmusic/metadata value 140. The composition object 220, 230, and 240 maytake any form and/or be displayed in any manner contemplated in the art.In one non-limiting example, the composition objects 220, 230, and 240are displayed as eels and/or are serpent shaped. Other non-limitingexamples of shapes include: musical notes, flying saucers, rectangularbars, and/or so forth. Additionally, the shape and/or form of thecomposition object 220, 230, and 240 may be associated with and/orrelated to a plurality of display backgrounds disposed on the displaymodule 420.

Also shown in the figures, the method 300 includes displaying a firstindicator 320 and displaying a second indicator 330. The first indicator120 and second indicator 130 each describe the first music/metadatavalue 140. The first indicator 120 and second indicator 130 may bedisplayed in any form, shape, color and/or include any graphicalfeatures as contemplated in the art, or as described herein. Indeed, thefirst and second indicators 120 and 130 may each describe the firstmusic/metadata value 140 in any manner contemplated in the art, or asherein described. In one non-limiting example, the first indicator 120describes the first music/metadata value as a position and/or locationin orientation to a virtual music instrument 210 on the display module420. Indeed, the first indicator 120 may be embodied in and/or describethe first music/metadata value 140 in the position of a compositionobject 220, 230, and 240 relative to the virtual instrument keys 222.Additionally, the first indicator 120 may comprise a virtual instrumentkeys' 222 position on a virtual music instrument 210; such as but notlimited to, the C# virtual key 232 on a virtual keyboard 210.

Also shown in the figures, the second indicator 130 may describe thefirst music/metadata value 140 as a color and/or color scheme.Additionally, the second indicator 130 may described the firstmusic/metadata value 140 in other ways, such as but not limited to:patterns, a variety of color shading, and/or so forth. The secondindicator 130 may be displayed in association with the compositionobjects 220, 230, and 240, the virtual instrument keys 222 of a virtualmusic instrument 210, and/or any other manner or form contemplated inthe art. In an additional embodiment, the first and second indicators120 and 130 each cooperate to describe the first music/metadata value140.

As shown in the figures, the method 300 additionally includes selectingthe composition object 220, 230, and 240. Selecting the displayedcomposition object 220, 230, and 240 may be accomplished in any mannercontemplated in the art. Some non-limiting examples of selecting thecomposition object 220, 230, and 240 include: clicking, highlighting,moving a computer or mouse cursor over the composition object 220, 230,and 240, and/or so forth.

Also, as shown in the figures, the method 300 and/or program code mayinclude graphically altering the first indicator 340. The firstindicator 120 may be graphically altered in any form or mannercontemplated in the art, or as described herein. In one non-limitingexample, graphically altering the first indicator 120 includes movingand/or transposing the first indicator 120 from one location and/orposition relative to a virtual instrument key 222 to another locationand/or position relative to a virtual instrument key 222. For example,if the first indicator 130 includes the position of a composition object230 at the C# virtual instrument key 232; the first indicator 120 isgraphically altered by moving the composition object 230 to anothervirtual instrument key 242, such as the F virtual instrument key 242.Additionally, the first indicator 120 may be graphically altered inchanging the length and/or shape of the composition object 220, 230, and240.

In one embodiment, graphically altering the first indicator 340 may beaccomplished by any means contemplated in the art, or as describedherein. In one non-limiting example, the first indicator 120 and/or thecomposition object 220, 230, and 240 associated with the first indicator120 may be highlighted and/or selected by a computer cursor or mouse andmoved, dragged, and/or transposed. In another non-limiting example, thefirst indicator 120 may be selected, cut, copied, and/or pasted from onefirst indicator 120, or position, to another first indicator 120, orposition.

As shown in the figures, the method 300 and program code includeschanging and/or altering the first music/metadata value 140 to a secondmusic/metadata value 350. In an non-limiting example, a firstmusic/metadata value 140 representing the pitch for C#, is changed to asecond music value 140 representing the pitch for F. Changing the firstmusic/metadata value 140 to a second music and/or metadata value 350 maybe accomplished by any means contemplated in the art. In onenon-limiting example, the change from a first music/metadata value 140to a second music/metadata value 140 occurs automatically andsimultaneously upon a user 590 graphically altering the first indicator350, as described previously. Additionally, if a user 590 desires tochange and/or alter the first music/metadata value 140 he or she mayaccomplish this by graphically altering the first indicator 340 and/orthe second indicator 360.

Additionally, as shown in the figures, the method 300 and program codealso includes graphically altering the second indicator 360. Graphicallyaltering the second indicator 360 may occur automatically andsimultaneously upon the graphical altering of the first indicator 340and/or changing the first music/metadata value to a secondmusic/metadata value 350. For example, changing the first indicator 120from a C# position to an F position 340 may not only automaticallychange the first music/metadata value to a second music/metadata value350, but may also automatically graphically alter the second indicator360. In one non-limiting example, the second indicator 130 may begraphically altered from a blue color to a yellow color. The graphicalalterations of the second indicator 360 may include any of thosecontemplated in the art, or herein described. Some non-limiting examplesof graphical alterations of the second indicator 360 may include:altering the patterns, colors, shades of colors, lengths, and/or soforth.

Additionally, as shown in the figures, the method and/or program codemay include not keying the second indicator 130 to a set of shapes. Innot keying the second indicator 130 to a set of shapes, the data and/orprogram code instructing and/or comprising the second indicator 130 doesnot include shapes and/or any data associated with shapes. Therefore, inone embodiment, the second indicator 130 may be embodied in or take anyform except a shape. A shape, for example, may include a rectangle, acircle, a square, and/or so forth. Rather, the second indicator 130 isembodied in other form without shape, such as but not limited to,colors, color shades, signals, audio signals, and/or so forth.

In another embodiment, the method 300 and/or program code may includeconverting a music performance to music performance data and/or values.The music performance may be any type and/or kind of musical performancecontemplated in the art. In one non-limiting examples, there may be oneor more performance modules as contemplated in the art, or as describedherein. The one or more performance modules may be in communicationand/or connected via a network. Indeed, the music performance data maybe embodied in and/or include the first music/metadata value 140.

Additionally, in one embodiment, the method 300 may also includerecording the music performance data; playing prerecorded music data;and simultaneously playing the prerecorded music data and the recordedperformance data. These features may advantageously enable a user 590 toplay a music performance on an instrument with or without prerecordedmusic accompaniment, convert the performance to music data, and play anaudio recording of the users' 590 performance along with theaccompaniment.

As shown in the figures, the method 300 and/or program code may alsoinclude generating a graphical user interface 200 and 600. The graphicaluser interface includes a virtual music instrument 210, wherein thevirtual music instrument 210 includes a plurality of virtual instrumentkeys 222, each virtual instrument key 222 corresponding to a key on aperformance module. The graphical user interface 200 and 600 may beembodied and/or incorporate as part of any graphical user interfacemodule 440 contemplated in the art. In one non-limiting example, thegraphical user interface 200 and 600 is embodied in a display module420, such as but not limited to a computer monitor 560, video graphicscard, and/or video software.

Further, as shown in the figures, the virtual music instrument 210includes a plurality of virtual instrument keys 222, each virtualinstrument key 222 corresponding to a key on a performance module. Thevirtual music instrument 210 may be any virtual music instrumentcontemplated in the art. Some non-limiting examples include: a guitar, apiano and/or piano keyboard, a drum and/or drum set, a saxophone, aviolin, and/or so forth. The virtual instrument 210 and/or plurality ofvirtual instrument keys 222 may be disposed and/or oriented in anymanner contemplated in the art. In one embodiment, as shown in FIG. 6and 7, the virtual instrument 210 is oriented on the bottom and middleportions of the graphical user interface 600, respectively.

Also, as shown in the figures, the method 300 may include incorporatingmusic data and/or music/metadata values 140 in into the graphical userinterface 200 and 600. The music data 140 may contain data correspondingto an arrangement of a plurality of musical notes in sequence, having arhythmic pattern, and each note being represented by one or morecomposition objects 220, 230, and 240. The composition objects 220, 230,and 240 may represent, embody, and/or be associated with musicperformance data, prerecorded music data, and/or any music datacontemplated in the art, or described herein. The composition objects220, 230, and 240 may take any form or shape as contemplated in the art,or as described herein.

Additionally, as shown in the figures, the method 300 may includedirecting the composition objects 220, 230, and 240 upward on thegraphical user interface 200 and 600 in a substantially straighttrajectory away from and toward the plurality of virtual instrument keys222 corresponding to the composition objects' 220, 230, and 240 musicvalue and/or pitch. In being substantially straight, the trajectory mayor may not be a straight upward direction, but may veer slightly to theright and/or left. Additionally, the trajectory of the compositionobjects 220, 230, and 240 may include patterns and/or designedtrajectories comprising a variety of angles and/or trajectoriesconfigured to challenge and/or entertain one or more player modulesand/or users 590.

The method 300, as illustrated in the figures, may additionally includecolliding the composition objects 220, 230, and 240 with correspondingvirtual instrument keys 222 according to the rhythmic pattern of thearrangement. Additionally, the method 300 may include introducing aseries of visible staff lines 670, wherein the visible staff lines 670correspond to the substantially straight trajectories of the compositionobjects 220, 230, and 240. In one non-limiting example, a compositionobject 220, 230, and 240 travels upward along a visible staff line 670toward the virtual instrument key 222 until the composition object 220,230, and 240 collides with the corresponding virtual instrument key 222.

In an additional embodiment, the composition object 220, 230, and 240comprises a musical note which corresponds to a musical note to beplayed for a music performance and/or on a performance module. Themethod 300 may include awarding a value to one or more player modules orusers 590 based upon the users 590 striking a corresponding key on amusical performance module approximately simultaneously as thecomposition object 220, 230, and 240 collides with the virtualinstrument keys 222. In being “approximately simultaneous”, one or moreusers 590 may or may not strike a corresponding key on his or herperformance module at the exact moment a composition object 220, 230,and 240 collides with a virtual instrument key 222. An award value maybe awarded to one or more users 590 if the users 590 strike acorresponding key on his or her performance module 250 one or twoseconds before and/or after the exact moment a composition object 220,230, and 240 collides with a virtual instrument key 222.

In an additional embodiment, the meaning of “approximately simultaneous”may be changed and/or set by one or more users 590. The method 300 mayinclude varying the degrees of difficulty which may or may not bechanged by one or more users 590. In one non-limiting example, a degreeof difficulty may include expert; wherein “approximately simultaneous”means the exact moment a composition object 220, 230, and 240 collideswith a virtual instrument key 222. In another non-limiting example, adegree of difficulty may include beginner; wherein “approximatelysimultaneous” means two seconds before and/or after a composition object220, 230, and 240 collides with a virtual instrument key 222.

As shown in the figures, the method 300 may include directing thecomposition objects 220, 230, and 240 upward and away from the virtualinstrument keys 222 traveling in a substantially straight trajectory.The method may additionally include pausing and/or freezing the travelof the composition objects 220, 230, and 240. A user 590 or playermodule may elect to pause and/or freeze the travel of the compositionobjects 220, 230, and 240. Upon pausing the travel, the method 300 mayinclude editing and/or transposing one more composition objects 220,230, and 240, the first and second indicators 120 and 130, and/or,indeed, the music/metadata values 140, as described herein. Pausing thetravel of the composition objects 220, 230, and 240 may allow a user 590to edit and/or transpose previously played and/or composed music data.For example, the composed music data, and/or the accompanyingprerecorded music data, both would travel outward from the virtualinstrument keys 22 after being played or created by a user 590. A user590 may then pause the travel and then edit, and/or change the recentlyplayed and/or created music data embodied in the composition objects220, 230, and 240. Additionally, the above described music data may berecorded and/or played back to a user 590, as the method 300 previouslydescribes.

Also shown in the figures, the method 300 may include displaying a setcharacteristic signal 925. The set characteristic includes music data,metadata, and/or music values associated with one or more musical keys;such as, but not limited to, the key of B^(b) Major, or B Flat Major,B^(b) Minor, or B Flat Minor. Indeed, the musical key may be any musicalkey, Minor and/or Major, contemplated in the art. The signal 925representing and/or signaling the particular musical key may be any typeand/or kind of signaling or visual aid contemplated in the art. In oneembodiment, the signal 925 is not keyed to include shape signals. In notbeing keyed to take the form of a shape, the data and/or program codeinstructing and/or comprising the second indicator 130 does not includeshapes. Some non-limiting examples of signals 925 include: highlights,colors shades, color patterns, signal flags, X markings, audio and/orvisual aides, messages, alerts, and/or so forth.

In one non-limiting example, as shown in FIG. 9, the signal 925 includesmarkings and/or signals disposed on virtual instrument keys 920 of avirtual musical instrument 210 which are not included in the particularmusical key selected by a user 590. For example, a user 590 selects tocompose, create, and/or play a musical selection in the key of B FlatMajor. Accordingly, the appropriate virtual instrument keys, pitches,and/or music values of the musical key of B Flat major include: B^(b),C, D, E^(b), F, G, and A; thus, the signal 925 would mark and/or signalthose virtual instrument keys 920 not included in the key of B^(b)Major. As demonstrated in FIG. 9, the virtual keys B, C^(#), D, E,F^(#), and G^(#) 920, each include a marking or signal 925, signalingthose keys are not recommended or appropriate for the key of B^(b)Major.

In an alternative embodiment, the signal 925 may be embodied, included,and/or disposed on those virtual instrument keys which would be includedin a selected musical key, such as but not limited to, B^(b) Major. Inone non-limiting example, those virtual instrument keys 222 included ina selected music key may be highlighted, contain brighter colors, and/orcontain a visual and/or audible signal such that a user 590 is aided inwhich virtual instrument keys 222 are associated with a selected musicalkey.

In an additional embodiment, the method 300 and program code may beconfigured to display the set characteristic signal 925 while stillallowing for a user 590 to play virtual instrument keys 222 and/orpitches not included in a selected musical key. In one non-limitingexample, if a user 590 has selected the key of B^(b) Major, the signals925 would signal the inappropriate virtual instrument keys 920 and/orpitches associated with the musical key of B^(b) Major, but would enablea user 590 freedom to compose with and/or play those inappropriatevirtual instrument keys 920 and/or pitches.

As shown in FIG. 4, there is a system 400 for music compositioncomprising: a display module 420 configured to display data; and agraphical user interface module 440 in communication with the music datacontrol module 410, and configured to interface with a user 590. Thedisplay module 420 may be any display module 420 contemplated in theart, or as described herein. Some non-limiting examples of displaymodules 420 include: computer monitors, video cards, video graphicsoftware and engines, and/or so forth. The graphical user interfacemodule 440 may be any graphical user interface (GUI) module 440contemplated in the art, or as described herein. Some non-limitingexamples of GUI modules 440 include: a keyboard, a computer mouse, ajoystick, and/or so forth. The display module 420 and GUI module 440 mayincludes instructions for and/or functions to execute and/or assist inexecuting the method and program codes as herein described or any mannercontemplated in the art.

Also shown in the figures, the system 400 additionally comprises a musicdata control module 410 in communication with the display module 420 andwith the graphical user interface module 440, and configured to controlmusic data and/or music values 140. The music data control module 410comprises instructions for displaying a composition object 220, 230, and240 through the display module 420, wherein the composition object 220,230, and 240 displays a first music value 140 in a first mode and asecond music value 140 in a second mode. The first music value 140 andthe second music value 140 may be any music value/data/metadataassociated with music data as contemplated in art or described herein.Displaying the first music value 140 and the second music value 140 in afirst and second mode, respectively, may include displaying the firstand second music value 140 in any form or manner contemplated in theart, or as described herein.

Additionally, as shown in the figures, the music data control module 410may include instructions for displaying the first indicator 120 inassociation with the composition object 220, 230, and 240, incommunication with the graphical user interface module 440. Displayingthe first indicator 120 in association with the composition object 220,230, and 240 may occur in any manner contemplated in the art, or asdescribed herein. In one non-limiting example, displaying the firstindicator 120 in association with the composition object 220, 230, and240 includes displaying the composition object 220, 230, and 240 in aparticular position and/or location relative to virtual instrument keys222 on a virtual instrument 210, wherein the first indicator 120 is theposition and/or location of the composition object 220, 230, and 240.Further, the music data control module 410 includes instructions fortransitioning the composition object 220, 230, and 240 between the firstmode and the second mode. The transition 250 may be accomplished by anymeans and/or manner contemplated it the art, or as described herein. Inone non-limiting example, the transition 250 of the composition object220, 230, and 240 is actuated between the first mode and the second modeby graphically altering the first indicator 340 through the graphicaluser interface module 440.

Also shown in the figures, the music data control module 410 includesinstructions for displaying a second indicator 130 in association withthe composition object 220, 230, and 240. The second indicator 130 maybe displayed and/or take any form or shape contemplated in the art, oras described herein. In one non-limiting example, the second indicator130 is not keyed to take the form of shapes. In not being keyed to takethe form of a shape, the data and/or program code instructing and/orcomprising the second indicator 130 does not include shapes. Rather, thesecond indicator 130 may comprise a color. Indeed, the second indicator130 may comprise any color, pattern, etc. contemplated in the art, or asdescribed herein.

As shown in the figures, the music data control module 410 also includesinstructions for graphically changing and/or altering the secondindicator 360 in association with the transition 250 of the compositionobject 220, 230, and 240 between the first mode and the second mode. Thegraphical change of the second indicator 360 may occur and/or includeany graphical change contemplated in the art, or as described herein. Inone non-limiting example, the graphical change of the second indicator360 includes an alteration and/or change of color. In anothernon-limiting example, the graphical change of the second indicator 360occurs automatically and substantially simultaneously during thetransition 250 of the composition object 220, 230, and 240 between thefirst mode and the second mode. In occurring substantiallysimultaneously, the graphical change may occur while the compositionobject 220, 230, and 240 is being moved from one position to another, ora minimal amount of time after the composition object 220, 230, and 240has reached the new position.

As shown in the figures, the system 400 also includes a music datasource module 430 in communication with the music data control module410 and providing the first music/metadata value 140. Providing thefirst music/metadata value 140 may be accomplished in any mannercontemplated in the art, or as described herein. In one non-limitingexample, wherein the first music/metadata value 140 includes data and/ormetadata associated with music pitch, music tone, music tracks, musicparts, and/or so forth; the music data source module may include aplurality of prerecorded music data and/or values. The music data sourcemodule 430 may additionally include music data associated withprerecorded, predetermined, and/or performed music data, such asperformances on a performance module, as previously described. Indeed,the music data source module 430 may provide a plurality ofmusic/metadata values 140.

In another embodiment, predetermined music and/or prerecorded music datamay include a song and/or orchestral piece as performed by the originalartist or as sung or played by professional musician, or as describedherein. Additionally, the music data source module 430 may includeinstructions for receiving and/or storing all the music data notassociated with a player modules' 590 assigned part of a musicalcomposition. In one non-limiting example, the music data source module430 includes music data in form of mp3, MIDI format, and/or other formthat is that is associated with prerecorded, predetermined, and/orperformed music data, such as performances on a performance module, aspreviously described.

In an additional embodiment, the music data source module 430 includesone or more performance modules. The one or more performance modules mayinclude a variety of musical instruments with which one or more users590 may perform. Some non-limiting examples of musical instrumentsinclude: a piano, a piano keyboard, a guitar, drums, a violin, and/or soforth. The performance module or musical instrument may or may notinclude one or more transducers. The transducers may be any type and/orkind of transducer contemplated in the art which functions to convert amusical performance to musical performance data. In one non-limitingexample, the transducer includes a transducer for a stringed instrumentor a wind instrument, such as those taught in U.S. Pat. Nos. 6,271,456and 4,527,456 which are incorporated herein by reference. Additionally,a variety of types and/or kinds of transducers, including Piezotransducers, may be available at www.amazon.com.

In yet another, the music data source module 430 includes an audiomodule configured to broadcast audio. The audio module may be anycomponent, software, hardware, etc. contemplated in the art whichfunctions and/or assists in broadcasting audio, such as, but not limitedto music data and/or music files, in addition to executing the method300 and functions described herein. Some non-limiting examples include:audio cords, audio speakers, audio software, audio settings, equalizers,and/or so forth. Such systems and/or components are readily availableand easily accessible by those skilled in the art.

In still another embodiment, the music data source module 430 includes aperformance recording module. The performance recording module mayinclude instructions for recording performance data from one or moreperformance modules, in addition to executing the method 300 andfunctions described herein.

Additionally, as shown in the figures, the display module 420 includes avirtual musical instrument 210 having a plurality of virtual instrumentkeys 222, each virtual instrument key 222 corresponding to a key on aperformance module. There also is a plurality of the composition objects220, 230, and 240 in sequence having a rhythmic pattern associated withmusic performance data. The plurality of composition objects 220, 230,and 240 may be directed in substantially straight trajectories, towardthe virtual instrument keys 222 until the composition objects 220, 230,and 240 are collided with the corresponding virtual instrument keys 222according to the rhythmic pattern of the musical performance data. Theabove described features and/or objects may be embodied or displayed inany form contemplated in the art, or as described herein.

Also, as shown in the figures, the display module 420 includes a seriesof visible staff lines 670, wherein the visible staff lines 670correspond to the substantially straight trajectories of the compositionobjects 220, 230, and 240, such that composition objects 220, 230, and240 travel along the lines 670 until the composition objects 220, 230,and 240 collide with the virtual instrument keys 222. The abovedescribed features and/or objects may be embodied or displayed in anyform contemplated in the art, or as described herein.

Also, as shown in the figures, the display module 420 may includeinstructions and/or function to orient the virtual music instrument 210along the central axis region of the user interface 600, and upon thecomposition objects' collision with the virtual instrument keys 222, thecomposition objects 220, 230, and 240 may be directed away from thevirtual instrument keys 222 until a pause mode is activated. The pausemode may be embodied in or part of a pause play module, wherein a user590 may select to pause or freeze play or composition. Indeed, the abovedescribed features and/or objects may be embodied or displayed in anyform contemplated in the art, or as described herein.

FIG. 5 illustrates an overall hardware configuration of a system ofmusical composition 400 according to one embodiment of the invention. Acomputing device 510 manages the overall system. A player, playermodule, and/or user 590 watch a display module 420 for visual cues, andlistens to speakers 540 for audio cues. Based on this feedback, theplayer 590 uses peripherals 580 to play a rhythm that corresponds to amusical performance being played by a digital processor such as acomputing device 510 through a sound synthesis unit 530 and speakers540. The peripherals 580 provide input to the computing device 510through a peripheral interface 570. The peripherals 580 may include anytype of peripheral input device contemplated in the art, or as describedherein. Some non-limiting examples of peripheral input devices 580include: a computer mouse, a joystick, a musical instrument, a cursor,and/or so forth. Based on player performance information stored on localstorage 520 and kept in memory 520, the computing device 510 usessignals from the peripheral interface 570 to drive the generation ofmusical tones by the sound synthesis unit 530 and play them throughspeakers 540. The player 590 hears these tones, completing the illusionthat he or she has directly created these tones by playing on theperipherals 580. The computing device 510 uses a graphics engine 550 togenerate a display 560 to further guide and entertain the player 590.The computing device 510 can be connected to other computing devicesperforming similar functions through a local area network or a wide areanetwork. It is understood that FIG. 5 is meant to be illustrative, andthere are other configurations of computing devices that can bedescribed by one skilled in the art. For example, a multiple processorconfiguration could be used to drive the system.

FIGS. 6 and 7 illustrate an exemplary embodiment of the invention,wherein the virtual instrument 210, including a plurality of virtualinstrument keys 222 are oriented and disposed at the bottom and middleareas of the graphical user interface 600, respectively. The graphicaluser interface 600 further comprises a plurality of composition objects220, 230, 240, and 675, each aligned on a trajectory extending towardand/or away from the virtual instrument keys 222. Similar to FIG. 2, thefirst and second indicators 120 and 130 are each demonstrated by thepositions/locations and the colors of the composition objects 220, 230,and 240, respectively. Additionally, as demonstrated through comparingthe respective lengths of composition objects 675 and 230, thecomposition objects may include a third indicator, which represents amusic value associated with duration of a note, such as, but not limitedto, a half note, whole, quarter note, and/or so forth.

FIGS. 6 and 7 also show there may be one or more icons 635, 640, and 660disposed on the graphical user interface 600 which may allow a user toselect various options and/or settings associated with composing and/orplaying music data. The option and/or setting may be any contemplated inthe art. Some non-limiting examples include: freezing and/or pausing themenu 620, exiting the song 635, a help icon 655, and/or resume song 660.The graphical user interface 600 may also include a scroll bar 665,wherein a user 590 may view previously played or upcoming music data.Additional examples of options and/or settings include: phrase and/ormusic data looping and playback, time signature and tempo settings, keysignature and music key settings as previously described.

FIG. 8 illustrates another exemplary display module 420 and/or graphicaluser interface 800. There are one or more icons 810 which may includeinstructions for aiding a user 590 in composing and/or playing musicdata, as herein described. Additionally, the graphical user interface800 includes a track selection module and/or interface 898. The trackselection module and/or interface 898 may include instructions and/orfunction to enable a user 590 to select one or tracks or parts 860 of amusic piece, such as but not limited to, harpsichord, drum, flute,and/or so forth. The track selection module/interface 898 mayadditionally function and/or include instructions for enabling a user590 to select whether the user 590 wishes to play the particular part860, have the part 860 played as accompaniment 890 from prerecordedmusic data, and/or mute the part 860. Additionally, the track selectioninterface/module 898 may include one or more instrument icons 895 whichdisplay the instrument associated with a particular part 860. Audio datamay be associated with each instrument icon 895 such that a user 590 mayclick or move a cursor over the icon 895 and hear audio data associatedwith that particular instrument.

As shown by the figures, the system 400 and method 300 provide an easyto understand, yet intuitive and creative way to compose, create, and/orplay along with music data. In operation, a user 590 may pause andselect one or more composition objects 220, 230, and 240 displayed onthe display module 420 and/or graphical user interface 200 and 600. Tocompose and/or edit the music data, a user 590 simply moves acomposition object 220, 230, and 240 from one position, or note, toanother note. When one or more composition objects 220, 230, and 240 aretransitioning from a first note to a second note, the method 300 andsystem 400 provide for graphically altering the second indicator 130, orchanging the color, simultaneously during the transition 250. The system400 advantageously allows for those skilled and unskilled to create andedit music compositions. Further, because notes and music data arerepresented by colors and composition objects 220, 230, and 240, thoseunskilled or early learners, especially children, may learn at a morerapid and easy pace.

It is understood that the above-described embodiments are onlyillustrative of the application of the principles of the presentinvention. The present invention may be embodied in other specific formswithout departing from its spirit or essential characteristics. Thedescribed embodiment is to be considered in all respects only asillustrative and not restrictive. The scope of the invention is,therefore, indicated by the appended claims rather than by the foregoingdescription. All changes which come within the meaning and range ofequivalency of the claims are to be embraced within their scope.

For the sake of brevity, conventional data networking, applicationdevelopment and other functional aspects of the systems (and componentsof the individual operating components of the systems) may not bedescribed in detail herein. Furthermore, the connecting lines shown inthe various figures contained herein are intended to represent exemplaryfunctional relationships and/or physical couplings between the variouselements. It should be noted that many alternative or additionalfunctional relationships or physical connections may be present in apractical electronic transaction system.

Additionally, although the figures illustrate a virtual piano keyboard210, it is contemplated and understood the virtual music instrument 210may be any musical instrument contemplated in the art. Indeed, a virtualmusical instrument of any type may be displayed on the display module420 and/or graphical user interface 200 with corresponding virtualinstrument keys 222. Some non-limiting examples of virtual musicinstruments 210 include: a guitar, drums, a wind instrument, a brassinstrument, a string instrument, and/or so forth.

It is also envisioned that the first and/or second music/metadata values140 each may represent or include information regarding plurality ofmusical values, sets, and/or groups of music values. In one non-limitingexample, the first music and/or metadata value 140 represents a set ofmusical values for example a chord, or a plurality of notes,rhythmically and/or tonally connected.

Additionally, it is also envisioned that the first and/or secondindicators 120 and 130 and/or set characteristic signal 925 each mayrepresent or include information regarding plurality of musical values,sets, and/or groups of music values. In one non-limiting example, thefirst and/or second indicators 120 and 130 and/or set characteristicsignal 925 represents a set of musical values for example a chord, or aplurality of notes rhythmically or tonally connected.

It is expected that there could be numerous variations of the design ofthis invention. An example is that the virtual music instrument 210 maybe oriented vertically, rather than horizontally, on the display module420 and/or graphical user interface 200.

Additionally, it is envisioned that one or more users 590 may be incommunication through and/or via network. The system 400 and/or method300 may assist or facilitate music composition and indeed, musicalcooperation among a plurality of users 590 communicating over a network.

Thus, while the present invention has been fully described above withparticularity and detail in connection with what is presently deemed tobe the most practical and preferred embodiment of the invention, it willbe apparent to those of ordinary skill in the art that numerousmodifications, including, but not limited to, variations in size,materials, shape, form, function and manner of operation, assembly anduse may be made, without departing from the principles and concepts ofthe invention as set forth in the claims.

1. A method for music composition, comprising: a) displaying acomposition object according to a first value, wherein the first valueincludes a musical event; b) displaying a first indicator, wherein thefirst indicator describes the first value; c) displaying a secondindicator, wherein the second indicator describes the first value; d)selecting the composition object; e) graphically altering the firstindicator; f) changing the first value to a second value; and g)graphically altering the second indicator.
 2. The method of claim 1,wherein first indicator comprises the position of the composition objectrelative to a displayed virtual instrument.
 3. The method of claim 1,wherein the second indicator is not keyed to shapes.
 4. The method ofclaim 3, wherein the second indicator comprises a color.
 5. The methodof claim 1, further comprising: a) generating a graphical user interfaceincluding a virtual music instrument, wherein the virtual musicinstrument includes a plurality of virtual keys, each key correspondingto a key on a performance module; b) incorporating music data in intothe graphical user interface, wherein the music data contains datacorresponding to an arrangement of a plurality of musical notes insequence, having a rhythmic pattern, each note being represented by thecomposition object; c) directing the composition object in asubstantially straight trajectory, toward the virtual keys correspondingto the musical notes; and d) colliding the composition object withcorresponding virtual key according to the rhythmic pattern of thearrangement; and e) introducing a series of visible staff lines definingspaces, wherein the lines and spaces correspond to the substantiallystraight trajectory along which the composition object travels towardthe virtual music instrument, such that the composition object travelsalong the visible staff lines until colliding with the virtual musicinstrument at the corresponding virtual key.
 6. The method of claim 1,further comprising displaying a set characteristic signal.
 7. The methodof claim 6, wherein the signal is not is not keyed to a set of shapes.8. A computer readable storage medium comprising computer readableprogram code configured to execute on a processor for music composition,the program code configured to: a) display a composition objectaccording to a first value, wherein the first value includes a musicalevent; b) display a first indicator, wherein the first indicatordescribes the first value; c) display a second indicator, wherein thesecond indicator describes the first value; d) select the compositionobject; e) graphically alter the first indicator; f) change the firstvalue to a second value; and g) graphically alter the second indicator.9. The computer readable storage medium of claim 8, wherein firstindicator comprises the position of the composition object relative to adisplayed virtual instrument.
 10. The computer readable storage mediumof claim 8, wherein the second indicator is not keyed to shapes.
 11. Thecomputer readable storage medium of claim 10, wherein the secondindicator comprises a color.
 12. The computer readable storage medium ofclaim 8, wherein the program code is further configured to: a) generatea graphical user interface including a virtual music instrument, whereinthe virtual music instrument includes a plurality of virtual keys, eachkey corresponding to a key on a performance module; b) incorporate musicdata in into the graphical user interface, wherein the music datacontains data corresponding to an arrangement of a plurality of musicalnotes in sequence, having a rhythmic pattern, each note beingrepresented by the composition object; c) direct the composition objectin a substantially straight trajectory, toward the virtual keyscorresponding to the musical notes; and d) collide the compositionobject with corresponding virtual key according to the rhythmic patternof the arrangement; and e) introduce a series of visible staff linesdefining spaces, wherein the lines and spaces correspond to thesubstantially straight trajectory along which the composition objecttravels toward the virtual music instrument, such that the compositionobject travels along the visible staff lines until colliding with thevirtual music instrument at the corresponding virtual key.
 13. Thecomputer readable storage medium claim 8, wherein the program code isfurther configured to display a set characteristic signal.
 14. Thecomputer readable storage medium of claim 13, wherein the program codeis further configured to not key the signal to a set of shapes.
 15. Asystem for music composition, comprising: a) a display module configuredto display data; b) a graphical user interface module in communicationwith the music data control module, and configured to interface with auser; c) a music data control module in communication with the displaymodule and with the graphical user interface module, and configured tocontrol music data, comprising instructions for: c1) displaying acomposition object through the display module, wherein the compositionobject displays a first value in a first mode and a second value in asecond mode; c2) displaying a first indicator in association with thecomposition object, in communication with the graphical user interfacemodule, and wherein a transition of the composition object between thefirst mode and the second mode is actuated by graphically altering thefirst indicator through the graphical user interface module; and c3)displaying a second indicator in association with the compositionobject, wherein a graphical change in the second indicator occurs inassociation with the transition of the composition object between thefirst mode and the second mode; and d) a music data source module incommunication with the music data control module and providing the firstvalue.
 16. The system of claim 15, wherein the first indicator comprisesthe position of the composition object relative to a displayed virtualinstrument.
 17. The system of claim 15, wherein the second indicator isnot keyed to shapes.
 18. The system of claim 17, wherein the secondindicator comprises a color.
 19. The system of claim 15, wherein themusic data control module includes instructions for displaying a setcharacteristic signal.
 20. The system of claim 19, wherein the signal isnot keyed to a set of shapes.